Shloss v. Sweeney et al

Filing 39

Declaration of David Olson in Support of 32 Memorandum in Opposition, filed byCarol Loeb Shloss. (Attachments: # 1 Exhibit A (Part 1)# 2 Exhibit A (Part 2)# 3 Exhibit A (Part 3)# 4 Exhibit A (Part 4)# 5 Exhibit B (Part 1)# 6 Exhibit B (Part 2)# 7 Exhibit B (Part 3)# 8 Exhibit B (Part 4)# 9 Exhibit B (Part 5)# 10 Exhibit B (Part 6)# 11 Exhibit B (Part 7)# 12 Exhibit C)(Related document(s) 32 ) (Falzone, Anthony) (Filed on 12/15/2006)

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Shloss v. Sweeney et al

Home | Chapter 7 Sections: 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35

Supplemental material: Shloss' Deletions| The Notebook Observations

25. "And vamp, vamp, vamp, the girls are merchand."
(FW 246.22-23)

Dockets.Justia.com

Doc. 39 Att. 8

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26. "to take care of Giorgio and Lucia while she [Nora] was confined to the hospital," disingenuously referring to them as "the children."
Helen Fleischman Joyce, Unpublished Memoir, RE Papers.

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27 "that he found [her] pleasant to look at. I felt happy," she wrote creating a scene of seduction that was as replete with the machinations of fate as any Harlequin romance: "I blushed like a school-girl. It was a happy night and nothing except perhaps a slight excited tingle around the region of my heart warned me that this evening was to be a turning point in my life...For all time [my fate] was to be inextricably woven with the destiny of the man I had met that night."
Helen Fleischman Joyce, "A Portrait of the Artist by his Daughter-inLaw." Unpublished typescript, HRC.

28. "Standing tall and straight and looking young and very beautiful, he fixed his dark blue eyes on mine with such intensity, I blushed and he began to sing a lovely old Italian song, 'Amaryllis.' I thought I had never heard anything more lovely in my life. All his young passionate soul rang out in the small room and stirred my senses and my heart. I knew, as his father knew, that he was in love with me. Accustomed to having young men as well as men nearer my own age attracted to me, still I was deeply moved. I gazed back with equal intensity into his lovely Irish eyes and a new phase of my life, unknown to me, had begun. When his fresh young bass baritone voice had faded away into the soft dark shadows of the room, the last poignant 'Amaryllis' had been sung with so much passion, I was inwardly rather embarrassed. It was surely obvious to everyone as to me, that Giorgio was very much interested in me. I applauded loudly and went up to him to thank him for his lovely song. He flushed, and bowed in his comely and old fashioned, yet so charming way."
Helen Fleischman Joyce, Unpublished Memoir. RE Papers.

29. "perhaps the dues ex machine that was then shaping our ends. It was," Helen admitted, "the old game that I loved. But this boy was so young, so sweet. I did not want to hurt him. Loving him would only bring him pain. I hoped he would get over it but not heartily or sincerely. I really liked his passionate adoration."
Helen Fleischman Joyce, Unpublished Memoir. RE Papers.

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30. "the epitome of lovely young wifehood and womanhood [with] great charm and wit."
Helen Fleischman Joyce, Unpublished Memoir. RE Papers.

31.

"His wife, Lillian, was Canadian by birth I think [she was English] and I thought her very common. She spoke in a high pitched shrill voice with a sort of cockney accent, her thin tense rather horselike face, her blonde string hair, her big teeth, her too thin body. I found not at all attractive. Perhaps there was a reason for the antagonism I felt toward her. Dear Lillian had been Giorgio's first romance. I think she seduced him but perhaps that is unkind. Certainly I never had any trouble getting him away from her."
Helen Fleischman Joyce. "A Portrait of the Artist by His Daughterin-Law," HRC.

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32. "This was usually the best part of the party. Certainly the most illuminating. Mrs. Joyce would begin by criticizing how all the other women looked and behaved. Did you see...and so on down the list with hardly a kind word for anyone."
Helen Fleischman Joyce, Ibid.

33. "Babbo has my unconscious Calvary immortalized in the part of Finnegans Wake known as "Anna Livia Plurabelle" and the washerwomen gossiping by the river are indubitably Nora and some friends of hers, eagerly ripping me apart and washing their own dirty linen in the river while I (as Anna) swim happily and unconsciously downstream followed by H.C. Earwicker. Babbo never told me and I stupidly never suspected that I was the heroine of this masterpiece of prose and that he as H.C.E. was trying to catch my slim young form which was chasing after Giorgio who in the book is the twin brothers...Dear Dirty Dublin is passionately in the manner of a middle-aged man feeling love and life slipping through his fingers, pursuing youth and beauty in the person of Anna."
Helen Fleischman Joyce, Ibid.

34. "If Joyce's art followed life, then the life of his son followed art. "Do as I write, not as I do." Ulysses was not only a fact in Giorgio's life; it was a script. He had found a precursor in Blazes Boylan, even if the parent who had created the jaunty adulterer was scandalized by his behavior. He had 'vicereversed' his father's use of Lillian Wallace as one of the models for Molly Bloom."
Carol Shloss. James Joyce.

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35. "very attractive and brilliant young French writers and I flirted and ate and drank a lot of good wine and had a perfectly wonderful time."
Helen Fleischman Joyce. "Luncheon at Café Leopold." Unpublished Memoir, RE Papers.

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Home > Chapter 7 Sections > Shloss' Deletions

These are quotations of my own language that were deleted before publication.

1.

...who from the first was at the least ambivalent and often hostile toward Helen, she portrayed as a...

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2. But these biases do not preclude all truthfulness, and they do not necessarily mean that we shouldn't credit her account of Giorgio's sexual experience before they met.

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3. "Aside from its sad narcissism, Helen's story offers a glimpse of a family dealing with the erotic life of a child. It is, in fact, hard to imagine that the Joyces would not have dissected the lives of Helen and Giorgio in the way that she imagines. The text also shows us a young woman who is actively aware of inter-generation sexual currents---she imagines herself as the object of Joyce's desire--while she pictures her husband as 'pursuing lazily nothing and no one in particular'" 4. If Joyce's art followed life, then the life of his son followed art. "Do as I write, not as I do." Ulysses was not only a fact in Giorgio's life; it was a script. He had found a precursor in Blazes Boylan, even if the parent who had created the jaunty adulterer was scandalized by his behavior. He had "vicereversed" his father's use of Lillian Wallace as one of the models for Molly Bloom"

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Home > Chapter 7 Sections > From The Notebook Observations

The Notebook Observations; the Early Drafts1

1929 VI.B.28.064 VI.B.28.140 VI.B.28.151 VI.B.28.152 VI.B.28.169 VI.B.28.171 February-March 1929 VI.B.29.017 VI.B.29.066 February- March 1930 May 1930-October 1930 VI.B.32.flyleaf verso VI.B.32.008 VI.B.32.014 VI.B.32.015 VI.B.32.019 (facing left) VI.B.32.020 VI.B.32.040 &

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VI.B.32.050 VI.B.32.084 VI.B.32.105 (facing left) VI.B.32.122 VI.B.32.138 Chapell d'Izzied

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Note: Chapell d'Izzied. At this time Joyce was planning to publish a version of II.1 under this title, with its clear echoes of Chapelizod, Issy and 'dizzy'. In a letter dated 22 December 1930 he wrote to Miss Weaver: I am also trying to explain to Miss Monnier's sister who knows no English the text of Chapelle D'Izzied (the next fragment) for which she is to do a hieroglyph preface. (Letters III, 209) VI.B.32.157 VI.B.32.210 (facing left) VI.B.32. back flyleaf verso Lucia Joyce September - November 1930 II, i "The Twilight Games" (plan on MS 47482, 2; FW 222-236)

1

The following discussion of James Joyce's Finnegans Wake notebook observations supplements the summary chapter about the Wake at the end of my published biography of Lucia Joyce (chapter 16). In this supplementary material, the "sigla" for the daughter figure from Joyce's notebooks forms a kind of additional infrastructure of the biography, arranged chronologically and placed next to the actual events of Lucia's life. They show what Joyce observed about Lucia as she grew and they indicate her consistent influence on the final text of Finnegans Wake. They also indicate the composite nature of the daughter figure in the Wake, as Joyce merges experiential observations with notes from other sources about adolescent girls emerging into womanhood, figures like Alice Liddell from Alice in Wonderland, Isa Bowman, "Peaches" Browning, Isolde from Tristan and Isolde, Edith Thompson from the Trial of Frederic Bywaters and Edith Thompson, Lot's daughters, and so forth. In the early notebooks, the daughter is indicated by the nickname "Is" or "Issy" or "Isabeale" or some variation of the name "Isolde." Later, she, like all of the other major characters, acquired a symbol, , which could also appear on its side, facing either left or right. When used in combination with the symbol , Joyce was usually referring to some aspect of the love triangle in Tristan and Isolde. As Joyce moved from observations of Lucia to the final construction of Finnegans Wake, he went through numerous drafts. Following these drafts lets us see, in a way that is rarely available to scholars, the transposition of life into art. As Joyce progressed from watching his adolescent daughter, he joined her, in his imagination, with the situation of other young women entering into life for the first time. He shows them learning about the nature of human intimacy, the anatomy of sex, the secrecy, suspicions and possibilities for betrayal that can accompany sex, and the complexities and ambiguities of human emotional attachments. Of particular interest to me, was Joyce's propensity to align Lucia with "triangles" and with close brother-sister relationships in history and literature. That is, one of his basic instincts led him to figure her as (for example) Isolde in the the story of Tristan, King Mark and Isolde, where, interestingly, the triangle is transposed to Shaun, Earwicker and Issy, that is, to the Wakean characters associated, in familial terms, with Giorgio, Joyce and Lucia. This triangular pattern and the brother-sister attachment pattern are insistent in Joyce's notebooks, in his drafts and in the final version of Finnegans Wake. The triangular pattern is also insistent in my biography of Lucia, as published, but, with the addition of this notebook and draft evidence, the assertion of these heavily weighted familial relationships is even more compelling than in the published version made available to scholars and reviewers. In fact, given the consistency of Joyce's evidence, a biographer would have been irresponsible to create a narrative without these emotional constellations. Here you will find an additional infrastructure for my biography, given in the form of citations from the notebooks, for scholars who

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are interested in tracing most of Joyce's observations of the Lucia/Issy character. Also included are several examples of the transformational use of such material that I did not include in the final version of the book; that is, in the published book, I used only material from Finnegans Wake and not the genetic material leading up to it, the material that shows Joyce's chronological observation of Lucia and his transformational use of it.

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Home | Chapter 8 Sections: 36 | 37

Supplemental material: Shloss' Deletions | The Notebook Observations

36.

"Exceedingly nice girls can strike exceedingly bad times."
(FW 246.22-23)

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37.

"Lucia was very upset and depressed; she was suddenly left without an occupation or a career, and nothing seemed to take its place."
Helen Flesichman Joyce. Notes to Richard Ellmann re mistakes in his biography of James Joyce, RE Papers.

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Home > Chapter 8 Sections > Shloss' Deletions

These are quotations of my own language that were deleted before publication.

1.

"By the late 1920s, she seems also to be aware of the erotic dimension of this looking back and forth... But when she came to relate to other men as possible suitors, they, too, noticed her propensity to model, to primp and to think of herself in terms of her own impression."

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2. "And she [Nora] would also continue to taunt Lucia trying to drive a wedge between her children and Joyce. These, at least, were Helen Fleischman Joyce's memories of the dynamic between the Joyce children and their mother during these years."

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Home > Chapter 8 Sections > From The Notebook Observations

The Notebook Observations; the Early Drafts1 Mid February - late April 1931 VI.B.33.071 (facing right) VI.B.33.073 (facing right) VI.B.33.097 (facing left) VI.B.33.120 (facing right) (facing left) VI.B.33.121 (facing left) VI.B.33.134 VI.B.33.135 (facing left) (facing left) (facing left) VI.B.33.138 (facing left) (facing left) VI.B.33.139 (facing left) (facing left) VI.B.33.144 VI.B.33.148

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VI.B.33.151 VI.B.33.152 VI.B.33.153 VI.B.33.157 VI.B.33.163 VI.B.33.164 VI.B.33.165 (facing left) VI.B.33.167 VI.B.33.168 (facing left) VI.B.33.165 VI.B.33.169 VI.B.33.171 (facing leftVI.B.33.173 a major operation VI.B.33.174 VI.B.33.178 VI.B.33.183 VI.B.33.184 VI.B.33.185 VI.B.33.188 ES shows gir/ her angel in a mirror Life of Emanuel Swedenborg 305. [A Swedish girl repeatedly asked Swedenborg to show her an angel] "At last he consented, and leading her to summer-house in his garden, he placed her before a curtain that had been lowered, and then said, 'Now you shall see an angel'; and as he spoke, he drew up the curtain, when the maiden beheld herself reflected in a mirror." VI.B.33. back flyleaf verso Zenen Zdenka Podhayska/ 72 rue de Verdun/ Meudon/ Malostranska/ 15/ Prague
1

The following discussion of James Joyce's Finnegans Wake notebook observations supplements the summary chapter about the Wake at the end of my published biography of Lucia Joyce (chapter 16). In this supplementary material, the "sigla" for the daughter figure from Joyce's notebooks forms a kind of additional infrastructure of the biography, arranged chronologically and placed next to the actual events of Lucia's life. They show what Joyce observed about Lucia as she grew and they indicate her consistent influence on the final text of Finnegans Wake. They also indicate the composite nature of the daughter figure in the Wake, as Joyce merges experiential observations with notes from other sources about adolescent girls emerging into womanhood, figures like Alice Liddell from Alice in Wonderland, Isa Bowman, "Peaches" Browning, Isolde from Tristan and Isolde, Edith Thompson from the Trial of Frederic Bywaters and Edith Thompson, Lot's daughters, and so forth. In the early notebooks, the daughter is indicated by the nickname "Is" or "Issy" or "Isabeale" or some variation of the name "Isolde." Later, she, like all of the other major characters, acquired a symbol, , which could also appear on its side, facing either left or right. When used in combination with the symbol , Joyce was usually referring to some aspect of the love triangle in Tristan and Isolde. As Joyce moved from observations of Lucia to the final construction of Finnegans Wake, he went through numerous drafts. Following these drafts lets us see, in a way that is rarely available to scholars, the transposition of life into art. As Joyce progressed from watching his adolescent daughter, he joined her, in his imagination, with the situation of other young women entering into life for the first time. He shows them learning about the nature of human intimacy, the anatomy of sex, the secrecy, suspicions and possibilities for betrayal that can accompany sex, and the complexities and ambiguities of human emotional attachments. Of particular interest to me, was Joyce's propensity to align Lucia with "triangles" and with close brother-sister relationships in history and literature. That is, one of his basic instincts led him to figure her as (for example) Isolde in the the story of Tristan, King Mark and Isolde, where, interestingly, the triangle is transposed to Shaun,

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Earwicker and Issy, that is, to the Wakean characters associated, in familial terms, with Giorgio, Joyce and Lucia. This triangular pattern and the brother-sister attachment pattern are insistent in Joyce's notebooks, in his drafts and in the final version of Finnegans Wake. The triangular pattern is also insistent in my biography of Lucia, as published, but, with the addition of this notebook and draft evidence, the assertion of these heavily weighted familial relationships is even more compelling than in the published version made available to scholars and reviewers. In fact, given the consistency of Joyce's evidence, a biographer would have been irresponsible to create a narrative without these emotional constellations. Here you will find an additional infrastructure for my biography, given in the form of citations from the notebooks, for scholars who are interested in tracing most of Joyce's observations of the Lucia/Issy character. Also included are several examples of the transformational use of such material that I did not include in the final version of the book; that is, in the published book, I used only material from Finnegans Wake and not the genetic material leading up to it, the material that shows Joyce's chronological observation of Lucia and his transformational use of it.

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